DinYC WERNER 
rLn I J EDITION 



A LOVE SUIT 



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S\T 



Romantic Comedy 



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20 minutes 




Two-Character Plays 

(Tbat is EacK Plajr Has T^vo CHaracters) 



Specially Recommended and PublisKed by 

EDGAR S. WERNER ^ COMPANY, 43 East 19th St., New YorK 



Awakening of Galatea. 25c. Illus- 
trated Romantic Statue Scene from play 
"Pygmalion and Galatea," by W. S. Gil- 
bert, im, if. 30 min. Arranged and poses 
by Helen M. Schuster. Photographs from 
life. Greek costumes. The gods grant ar- 
tist's prayer to have his woman statue come 
to life. Her awakening to life and to 
love, and the predicament the artist (who 
is married) finds himself in, make a dainty 
and interesting play, suitable for children 
or adults. 

Backward Child. 15c. h. L. C. Pem 

berton. Farce Comedy in i act. 20 min. 
2f. Elderly governess is engaged for "a 
backward child," who turns out saucy, pre- 
cocious and badly spoiled, and who makes 
first lesson such a torment to governess that 
she decides to resign to great delight of 
child. 

Box of Powders. 15 c. Farcical Ro 

manlic Courting Scene in i act. i hour, 
im, if. Young widow, having set up in 
window dummy of old man to make good 
her foolish story to an admirer that _ she 
had an old and infirm husband, is fright- 
ened by admirer's (who has learned of 
her deception by use of telescope) threat 
to force an entrance to her apartment into 
showing willingness to marry a colonel, 
who has called, and who, because of plas- 
ters on his feet, has been in agony and 
has been going through ridiculous antics 
and subterfuges to explain his conduct. 

Breaking the Ice. 15c. c. Thomas. 

Romantic Comedy in i act. 50 min. im, 
if. Young couple, whose parents have 
planned their marriage, meet by chance in 
inn (the girl running from home to avoid 
meeting man whom she has never seen, 
the man going to her house to keep the 
parents' engagement) and like each other 
so well that, on finding the other's identity, 
become engaged on the spot and go to girl's 
home. 

Confederates, The. 15c. Comedy Court- 
ing Scene in i act. 15 min. im, if. To 
bring dilatory lover to marriage proposal, a 
girl, under pretext of warding off old ob- 
jectionable lover planning to propose, gets 
lover to pretend an engagement just for 
one evening at ball, result being a real, 
permanent engagement. 



Crystal Gazer. 15c. L.Montague. Far- 
cical Fortune-teller Scene in i act. 30 
min. 2f. Mistaking girl seeking lover's 
address for another girl looking for lost 
poodle, a fortune-teller gets things ridicu- 
lously mixed, getting out of scrape by in- 
formation in letter from lover, who like- 
wise was looking for girl's address, written 
by him on his cuff, which he "inadvertently 
sent to the wash." 

Fast Friends. 15c. R. Henry. Comedy 
Play. 30 min. 2f. Two women, intimate 
friends, who had never met the other's hus- 
band, in telling of their having met, at a 
concert and lecture, men who spoke of their 
unappreciative wives, learn that their own 
husbands had schemed to cure their wives of 
visiting so much. 

Happy Ending. 15c. B. Moore. Ro- 
mantic Pathos Play in i act. 35 min. 2f. 
Woman, who as young wife had wrongly 
deserted husband and baby, when middle- 
aged is so lonely that she advertises for 
companion. Her own daughter, whom she 
does not know, gets the position and suc- 
ceeds in reconciling her parents, to their 
mutual happiness. 

He, She and It. 15c. Wm. Muskerry. 
Comedy Matrimonial Scene in i act. 30 
min. im, if. Young wife, having worked 
herself into hysterics because of husband's 
lateness on evening of her birthday, scolds 
unceasingly, not giving him chance to ex- 
plain; but when he produces presents for 
herself and baby, is ashamed and happy to 
become reconciled. 

Husband in Clover. 15c. H. C. Meri- 

vale. Farcical Matrimonial Scene in i act. 
I hour. im, if. Young husband, ennuied 
with placid life with loving and devoted 
wife, expresses his discontent by writing 
in book praises of other girls he thinks he 
might have married. His wife, reading 
these entries unbeknown to him, cures his 
nonsense by simulating the various charac- 
teristics he thinks so commendable in others 
Ijut lacking in his own wife. 

Little Flirts. 35c. Clara Macmonagle- 
Britten. Illustrated Flirtation Dance and 
Pantomime. For i boy and i girl, or t 
girls, one dressed as boy. Music and full 
directions given. 9 photographs from liic 



List of Two-Character PUyt Continued on Third Cove? Fatfe of Thle Booll 



A LOVE SUIT 



A Romantic Comedy for 1 m., If, 
20 Minutes. 



By W. GORDON SMYTHIES 



Text and Stage- Business Edited and Revised by 

PAULINE PHELPS and MARION SHORT 



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mm 



Price, 15 Cents 



EDGAR S. WERNER & COMPANY 
NEW YORK 



Copyright, 1913, by Edgar S. Werner 



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TMP9o-0071aO 
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A LOVE SUIT 



W. Gordon Smythies. 



Text and Stage-Business Edited and Revised 
By Pauline Phelps and Marion Short. 



Copyright, 1913, by Edgar S. Werner. 



Characters: Amy Leicester (awfully nice). 
Robert Darton (awfully shy). 
Time: Present day. 

Scene : Morning--room at Mr. Leicester's house. Doors R. and 
L. Table with cloth on it R. Chairs at either side and 
back of table. Chair L. Screen up L. Overcoat thrown 
on chair by door R. 

Discovered : Robert seated R., Amy by table L. hemming hand- 
kerchief. 

Amy. I've been looking at the clock, and I find it's just ;: 
quarter of an hour since you spoke to me. Have I said anythinc^. 
to offend you? Or is it that you find me dull company? 

Robert [pokes carpet zvith cane he cat'ries]. Dull company ?^ 
You dull company ! Such an unjust insinuation as that leaves pm- 
more speechless than ever. 

Amy. Ha, ha, ha ! 

Robert. I say, don't laugh at me. A fellow hates to be 
laughed at, don't you know. 

Amy. O, if you object to my laughing 

Robert [confusedly]. But I don't object. I should be awfully 
miserable if you didn't laugh at me. I shouldn't mind anything in 
this world if I could only feel quite sure that you — that you 

Amy. Well? 

3 



4 A LOVE SUIT 

Robert. But I don't, and that's just the rub, as some fellow 
says in some play somewhere. You know, I can't ever quite make 
out whether you're in earnest or in fun, don't you know. Now, 
yesterday, for instance 

Amy. What about yesterday? The great event of yesterday 
was when you came along with me to carry some beef-tea to poor 
Widow Crank, 

Robert. That's just what I was thinking about. I don't 
know whether you were in earnest or in fun when you said it, 
after I asked you if I might accompany you. 

Amy. When I said ivhatf 

Robert. W^hy, you replied quite pointedly that you always 
should be delighted to have me go along, as you always liked to 
take a walk zidth an object. 

Amy. And so I do. 

Robert. Of course, you mightn't have meant anything; but 
no fellow likes to be called an "object." [After hopeful pause.] 
Eh? 

Amy. I didn't say anything. [Turns azvay face and laughs.] 

Robert. I believe you're laughing at me again. 

Amy [turning toivard him abruptly]. Well, what makes you 
take it with such lamblike patience ? Why are you so tantalizingly 
good-natured? It doesn't do a bit of good to tease you. You 

can't seem to realize that the more I snub you the more I 

[Robert rises and steps forward eagerly] — dear me, the thread's 
come out of this needle. 

Robert. The more you — what were you going to say? 

Amy [teasingly']. Dear me, I really can't seem to remember. 

Robert [resuming seat]. There you go teasing me again. 
I'm so confoundedly shy, and you are so awfully clever at repartee 
and all that, that I never know what to do or quite how to take 
you. 

Amy. Did you say just then that you didn't know how to 
take me? 

Robert. I — I — ^but I meant — I say, I hope I've not made you 
angry. 



A LOVE SUIT 5 

Amy [ivitJi a sigJi]. You don't know how to take me, I see 
that. 

Robert. But, maybe, if I keep on floundering — for I am 
floundering my very best, 'pon honor, I am 

Amy. Oh, dear! [Puts dozvn handkerchief on table and 
crosses to C] You're a great, big, awkward bundle of contradic- 
tions. You dance Hke an angel, sing like a seraph, you can ride 
anything, shoot anything, and yet you can't say "boo" to a goose. 

Robert [rising slozuly and stiffly and facing her]. Boo! 

Amy [speaking with great indignation]. How dare you? 
[Exits L.] 

Robert. Well, what made her rush off like that ? Just when 
I do try to show a little courage — when I do say "boo" to a — 
[horror-stricken at the recollection]. Oh, bah Jove! I didn't 
mean that. [Starts fozvard door L.] Amy — [hesitates]. No, if 
I apologize I'm afraid she'll laugh at me. She offered to mend 
my coat. I can think up something to say complimentary enough 
to make her forget the goose if I walk a mile or two, and I'll make 
the coat an excuse for coming back — [listens]. She's coming! I 
can't go. And I can't face her — not right away. [Gets coat and 
puts it on chair beside table. Steps behind screen.] 

Amy [re-entering L.]. So you think I'm a goose, Mr. Darton. 
Oh, gone ! [Sees coat.'] Ha, ha, ha ! Well, I've scared him out 
of the house again. He thinks I'm angry, and here I've been 
stuffing my handkerchief down my throat so he wouldn't hear me 
laughing in the other room. When he called me a "goose," he 
unwittingly got even with me for the many times I've teased him. 
[Takes up coat. Robert peeps from behind screen and sees her.] 
His coat ! The dear, silly, timid, tormenting old boy ! 

Robert [aside]. Eh? 

Amy [siidderily]. Why, here's the rose and piece of verbena 
I put in his button-hole last Monday, withered and dead, and he's 
worn them all the same. [Kisses flozver.] 

Robert [aside]. Oh, by Jove! I'll have that coat put in a 
glass case. 

Amy [standing zvith coat still in hand]. Oh, what a silly girl 



6 A LOVE SUIT 

I am ! And yet, after all, why shouldn't I love him and kiss his 
dear old coat. He'll never know. That's the worst of it ! [Tear- 
fully.] I wish he would find out; but, I daresay, he never will till 
we are both quite old and grey, like Gabriel and Evangeline, and 
then, of course, it will be too late. [Sobs slightly and wipes eyes 
zvitJi sleeve of coat.] Oh, this will never do ! [Puts coat on 
chair behind table, resting coat in upright position. AL B. — An 
ulster is most suitable.] 

Robert [aside]. I wonder whether I had better cough or 
sneeze or do something to let her know I am here, and 

Amy [looking at coat on chair]. Carlyle's quite right, the 
clothes are the man ! [Addressing coat.] Yes, you're just like 
him, a limp, stupid, irresponsive old thing! Sit up, do! [Ar- 
ranges coat zvith one sleeve resting on table.] There, that's better, 
you look more manly now ! Now, sir, listen to me ! The first 
time I saw you I liked you, the second time I liked you more, and 
the third I liked you more than ever. 

Robert [aside]. Oh, I say, I'll die of joy. 

Amy. And you, you silly, blind old donkey — yes, you are ! 
You know you are! You haven't a word to say for yourself! 
You have never guessed it ! But you love me, I know you do ! 
and you haven't the pluck to own it! but go on eternally [iniitat- 
i}ig him] : "Miss Leicester," or "Miss Amy, may I offer you 
this, may I hand you that;" but never, "Amy, may I offer you 
my heart and hand !" And you're very clever, though you don't 
look it, but you haven't brains enough to see through my "awful 
teasings," as you call them ; I verily believe you think I hate 
you — hate you, you dear, darling old silly — why, I love [Rob- 
ert /;/ background steps almost from behind screen in his excite- 
ment.] 

Robert [aside]. By Jove, to think of tJiat now! 

Amy [still addressing coat^. Yes, I love you! 

Robert [aside]. I don't know whether I'm standing on my 
head or on my heels ! 

Amy. But it's no use talking to you — darling. [Embraces 
coat.] 



A LOVE SUIT 7 

Robert. "Darling!" I must be dreaming. I never want to 
wake up ; but, of course, I shall. 

Amy. Well, I must get that button to sew on, and a thimble. 
[Addresses coat.] But I shall be back directly. I haven't half 
done scolding you, you dear old silly. [Kisses coat violently and 
puts it back 0)1 chair.] 

Robert [joyfully, coining doivn to coat]. She kissed my 
coat! She kissed my coat just there. [Kisses same place.] Oh, 
happy coat, kissed with the kiss I've kissed. 

Amy [heard outside door L.]. Never mind, Jane, this thim- 
ble will do if it is a bit too large. 

[Robert ducks dozvn behind chair containing coat.] 

Amy [enters L., crosses to table, and arranges seiving ma- 
terials, addressing coat]. Well, you are still there, are you, you 
overgrown old baby. Have you been thinking over what I said 
just now, eh? [As she threads needle Robert's head appears 
above back of chair nodding vigorously, then disappears again.] 
What do men expect, I wonder? That a girl is to do half the 
wooing? [Robert's head appears again, nodding still more vig- 
orously, then disappears.] Ho, hum! Maybe you like some other 
girl better. [Robert shakes a vigorous negative and ducks dozvn 
quickly as she turns tozvard coat almost in time to see him.] Oh, 
if you do love me, why don't you speak up like a man and say, 
"Amy, I'm an awful duffer, but I do love you, w^ill you be mine?" 

Robert [suddenly rising]. ''Amy, I'm an awful duffer, but I 
do love you !" 

Amy [expressing fright and astonishment, jumps up]. Oh, 
Robert, how you frightened me ! When did you come in here ? 

Robert. Will you be mine? 

Amy [panic-stricken]. But you have not been in this room 
all the time? 

Robert. I thought I should be in the way, don't you know, 
and so I got behind the screen. 

Amy. Behind the screen ! [Confusedly.] Then you saw 
and — and heard everything ! [Robert smiles and nods, Amy hid- 
ing face in hands.] Oh, I shall die of shame ! 



8 A LOVE SUIT 

Robert. Die of shame? No, no! Amy, darling, I'm an 
awful duffer, as you say, but I love you and have loved you for 
ever so long. I have often been on the point of telling you so, 
only I was so dreadfully afraid you'd say no, don't you know, and 
that would have been an end of all things to me. Amy, my dar- 
ling, look up. [Amy shyly does so, hut iuinicdiately turns JQCC 
azvay.] I say. Amy, won't you speak? You haven't answered 
my question, though I put it just as you told me to. I'll say it 
again: "Amy, I'm an awful duffer, but I do love you, will you 
be mine?*' — perhaps you'd rather wait a few days before 

Amy [suddenly^. Oh, no, I wouldn't! — can't you guess my 
answer ? 

Robert [eagerly]. Yes, darling? 

Amy [nods before speaking]. That's it. [Eludes his em- 
brace and starts for door L.] Come on, we must tell dear Mama. 

Robert. Amy, wait a minute. [He picks up coat from 
chair. Amy hesitates at door, half smiling.] I say. Amy, you 
seemed awfully fond of this old coat just now while I was there 
[pointing tozvards screeii] — fonder than you have seemed of me — 
as yet! 

Amy. Oh, but your coat is you. 

Robert. I wished it was, a while ago. You — you kissed my 
old coat, don't you know ! 

Amy. Ah ! that was when I thought I was quite alone. 
You're not jealous of your old coat, are you, Robert? You ought 
to be grateful to it — but for your coat I should never have smiled 
on your suit. 

Robert. But I say. Amy, you won't understand a fellow, 
don't you know ; I said you kissed my coat, so 

Amy. Well, the coat didn't object, I hope. 

Robert. But, I say. Amy, you don't understand. We're en- 
gaged now and you kissed my coat and so 

Amy [laughing]. Well, if you can catch me. [Exits.] 

Robert. I say, Amy — [drops coat and makes hasty exit after 
her]. 

[curtain.] 



List of TwowCharaeter Plays Continaed from Second Cover Patfo of This BooK 



Morning Call. 15c. C. Dance. Romantic 
Comedy in i act. i hour, im, if. Party 
of men at English country house bet that 
a young widow can be made to break her 
resolution not to remarry, and appoint a 
fascinating one of their number to make 
the trial. Informed of the bet through 
woman friend, widow is prepared, and so 
manages that the would-be joker proposes 
in earnestness and is accepted. 

Needles and Pins. 50c. Helen M. Schus 

ter. Illustrated Pantomimed Song or Dia- 
logue for ini, if. Can be given by 2i. 
This is the well-known song bringing in 
"Needles and pins, when a man marries 
his trouble begins." Words by F. E. 
Weatherly; music by F. N. Lohr. In sheet 
music form. 6 photographs. Full music 
and directions. 
♦'Nettle, The." 15c. E. Warren. Ro- 
mantic Comedy in i act. i hour, im, if. 
Man, considering himself traduced by news- 
paper, calls at office to whip editor, but 
meets and falls in love witt editor's pretty 
sister, who is nice to him because she mis- 
takes him for capitalist whose aid her 
brother expects. Man, learning that article 
does not refer to him, presents whip to 
girl for her brother's use on belligerent 
callers, proposes and is accepted. 

Olga; or, The Franco=Russian Spy. 

25c. W\ F. Trayes. Drama, im, if. 40 
min. Russian interior scene. Police in- 
spector visits woman spy and asks for pa- 
pers she holds incriminating husband of 
woman Inspector loves and whom he would 
spare. The woman spy, bent on vengeance 
on husband, once her own lover, refuses 
to give up papers, but yields on learning 
that her own husband, a French spy, has 
been caught and she herself is implicated by 
papers found on him, and on Inspector's 
threat to turn her over to Russian mob. 

Pair of Lunatics. 15c. w. R. Walkes. 

Romantic Comedy Mad-house Scene in i 
act. 25 min. im, if. Young man and 
woman, invi jd guests , at ball _ at insane 
asylum, mistake each other for insane, and 
do all sorts of stunts to get out of their 
supposed predicament. 

Poe's Wife, Death of. Scene from. 

35c. J. Mount Bleyer. From unpublished 
play. im, if. 10 min. Watching by the 
bedside of his dying wife Poe, under the 
stimulation of opium, composes his famous 
poem, "The Raven." WR19. 

Those Landladies. 15c. ina L. CassiHs. 

Comedy Boarding-house Scene in i act. 15 
min. 2f. English landlady (typical) enters 
young ladv lodger's room to dust and in- 
cidentally to chat. Young lady is absorbed 
with letter from sweetheart, making re- 
marks which landlady mistakes as addressed 
to her, resulting in comical confusion. 
When young lady notes landlady's presence 
she indignantly leaves room, followed by 
uncomplimentary comments from landlady. 



Show of Hands. 15c. < W. R. Walkes. 
Romantic Comedy in i act. 40 min. im, 
if. Lovers are opposed by girl's fad-in- 
clined father, who thinks he sees in suitor's 
hand evil propensities. Girl then imagines 
her own palm reveals same propensities; 
and, when she goes to her father with her 
discovery, he is horrified to find same 
marks in his hand. They are about to sur- 
render to the authorities as preventative 
measure, when father discovers he has been 
looking at wrong diagram in his book, and 
that all their hands really show noble 
qualities. 

Sisterly Confidences. 35c. R- Brough- 

ton. Comedy Dialogue. 25 min. 2f. Se- 
date girl declines to communicate her flirt- 
ing sister's refusal, and recalls how many 
lovers she has turned down for sister. 

Their Graduating Essays. 15c. Elise 

West. Comedy Play, i act. 20 min. 2f. 
Two school girls confer in writing gradua- 
ting essays, cribbing from encyclopedias, 
and interlarding driest historical matter, 
most gushing sentimental matter, with friv- 
olous remarks about their chums, their 
dresses, etc. Full of school-girl nonsense. 
May end with unseen chorus. 

Trial Performance. 25c. Pauline Phelps. 

Comedy Play, i act. 2f. 15 min. Scene 
between theatrical agent and stage-struck 
country girl determined to get a hearing, 
and who inflicts samples of acting on dis- 
comforted agent. Opportunity for varied 
performance. 

Two Jolly Girl Bachelors. 15c. 

E. Martin-Seymour. Romantic Farce in i 
act. 40 min. 2f. Two girls, 'nfluenced by 
woman crank, believe that their lives will 
become "settled and made perfect" by re- 
nouncing men and marriage, and that then 
they can devote themselves to "healing the 
sick through the concords of music," finally 
weaken, pick up letters (which have been 
lying untouched under the door) from their 
lovers, who. they declare, "will very soon 
make two happy wives out of Two Jolly 
Girl Bachelors." 

Villain and Victim. 15c. W. R. Walkes. 

Farcical Matrimonial Scene in i act. 40 
min. im, if. Young married couple in- 
terrupt rehearsal of their parts in forth- 
coming amateur theatricals by making love 
and apologizing for treating each other as 
called for by the play, until they get jealous 
in talking of other players in the cast, be- 
coming reconciled only after thev tear up 
their books and decide not to 'sacrifice 
their "happiness merely to enrich contem- 
porary drama." 
Wager. 15 c. F. W. Kitchel. Comedy 
Play. I act. 20 min. im, if. Man, who 
has bet with his girl that he can pass for a 
tragedian without her recognizing him, ad- 
vertises as teacher of acting; she applies 
as pupil and they go through Romeo and 
Juliet scene, he winning bet, and her, too. 



• • 



• • 



Any Play Sent Poslcpaia on Receipt of Price 

Address tHe PtiblisHers: 

SDGAR. S. VTERNER. (£b COMPANY, 43 E. 19tH Street* New YorK 



New Plays and 

BLIND MAN. $.25. Henry Evarts Gordon. 
Biblical play. 6m. 2f. Three acts. 45 mln. 
Blind beg-gar, cured by Jesus, returning 
joyously home accompanied by maiden who 
has befriended him, finds father and moth- 
er in despair over threatened dispossession 
for non-payment of rent. Hig mother at first 
slights maiden, who prores to be daughter 
of landlord, who not only accepts young 
man as son-in-law but causes him to be 
restored to synagogue, from which rabbis, 
hostile to Jesus, had cast him out. Tab- 
leau finale shows family kneeling in light 
reflected by approach of Jesus (who does 
not actually appear on stage). 

COUNTY FAIR AT PUNKINVILLE. $.25. 

Farce in 2 scenes. Any number of char- 
acters. 1 hour, or longer, according to spe- 
cialties. Old farmer tells wife and chil- 
dren, instead of going to football game, 
he's going to take them to fair. After 
much talk and many preparations, they ar- 
rive, having exciting and funny experi- 
ences with tight-rope walker, snake- 
charmer, moving-pictures, singers, shoot- 
the-chutes, horse-race. Farmer, asked for 
his purse, gives it to man, but purse Is 
restored. Chance for varied costumes and 
all sorts of business and specialties that 
are at county fairs. 

JENKINSES GO TO THE CIRCUS. $.26. 

Sarah Pratt Carr. One -act rural Romp. 
7m. 6f. 45 min. Hard-working Western 
farmer paying off mortgage, after his and 
family's long struggle, uses odd dollars, 
thrown off by mortgagee who feels in- 
debted to farmer's wife for help in sick- 
ness, to buy clothes and toys and to take 
family to circus. Entire action of play is 
in preparations made to start for circus. 
Wife at first suspects husband is out of 
his head; but, learning good news of get- 
ting out of debt, she energetically orders 
around and helps her numerous children 
who cut up all sorts of antics. 

KIDNAPPING. $.25. Helen Clifford Wilbur. 
Children's Comedy. 6f. 45 min. Girls, to 
get even with boys who have offended 
them, play brigands and plot to steal little 
girl whom boys have in play tied fast as 
captive. Girls' written demand on boys for 
ransom money falls into hands of servant 
maid, who takes affair seriously and calls 
for aid on her friendly policeman. Girls 
get out of scrape by helping maid routing 
her rival with policeman, maid explaining 
"It was an April fool joke, only date got 
shlipped a bit." Baby talk, business with 
doll, Irish-dialect by maid. 

MTTLE REBEL. $.25. Harold Strong Lath- 
am. "Sane" Fourth-of-July Play. 28m. If. 
(or 14m., performers doubling their parts). 




-S^rlt 016 103 766 7 

for schools. iviuicti oi i>ia,y 

pendence Day should be celebrated in a 
way more rational than by horrible noises 
and dangerous shootings and fireworks. The 
13 original States are represented, each 
having something to say about itself. On© 
of the States refuses at first to give up 
old-fashioned way but finally yields. 

LOVE STORY OF UNEEDA AD. $.25. Mat- 
tie Lee Hausgen. Quaint conceit romantic 
comedy in two scenes. 11m. 6f. and nupes. 
1 hour. Unique entertainment bringing in 
widely-advertised foods and household 
articles as Uneeda Biscuit, Sapolio, Baker's 
Cocoa, Hiawatha Pure Spring Water, Dutch 
Cleanser, Gold-Dust Twins, Heinz Pickles, 
Ham Devil, McLaren Cheese, Peter's Milk 
Chocolate, Ralston Miller, Dutch Paint, 
Winchester Rifle, Quaker Oats, Swift's Cook, 
etc. Ends in marriage of Pure Food and 
Uneeda, playing of Lohengrin Bridal 
Chorus and tableau of flags of different na- 
tions, and advertising flags; dancing of 
Highland Fling (to bagpipe music), Indian 
dance, Virginia Reel, Cake-Walk, Quaker 
dance. 

MODEL GROWL. $.25. Agnes Electra Piatt. 
Store Window Wax-Figure comedy. Im. 
8f. 30 min. Scene opens with window- 
trimmer arranging figures and placing pla. 
cards; two shopgirls spat over their re- 
spective admirers, then six wax-figures guy 
one another, sing woman rights song, grab 
window-trimmer when he tries to quiet 
them and forces him to carry banner "I'm 
for Woman's Rights" at end of procession. 

PEDLER OR SPY. $.25. Edward Vassar Am- 
bler. Revolutionary War Military Court- 
Trial and Romance. 19m. (Im. is Wash- 
ington) 3f. 1 hour. Colonial and military 
costumes. British Royal Hussar captain, 
disguised as pedler, entering American lines 
to visit sweetheart, is, through jealous and 
unsuccessful rival, arrested and tried as 
spy, but is acquitted. Comedy parts as 
well as serious trial proceedings. 

PARSON'S GREETINGS. $.25. Gail Kent. 
Two-act romantic comedy. Im. lOf. 1 hr. 
Parson, whose fiancee breaks their engage- 
ment because meddlesome woman church 
member tells her she's not qualified for pas- 
tor's wife, directs maid servant to mail his 
New Year's greetings to lady members of 
congregation; maid mistakingly mails par- 
son's returned love-lettrs, causing ludi- 
crous results, revealed at meeting of sew- 
ing society; parson returning to clear up 
matters and to be reunited with fiancee. 
Maid speaks in Irish dialect. 



ADDRESS THE PUBLISHERS: 

BDGAR. S. V^E:RN£R CSl COMPANY 

NK^ YORK 



